DocuTIFF is excited to open submissions for the 2015 festival, which will take place for the first year in Tirana, this coming May, 9–13, 2015.

The need of this New Festival creation was born after large application number sent during the 12th edition of TIFF 2014. There were about 5,400 films in all categories. It was impossible to show all these qualitative films at TIFF and that is the reason why we thought to devide and create every year new competition for each category such as DocuTIFF, AnimaTIFF, ExpoTIFF, for documentary film, animated and experimental one.

We choose to begin with documentary film as need of favorable climate creation in Albania and wider in region for development and cooperation of such productions.

DocuTIFF aims to encouraging documentary film production in Albania and to give more chances to our filmmakers finding cooperation and enabling mutual contacts with their colleagues in our region.

This edition of DocuTIFF is organized by Tirana Film Institute, Adriapol and Albania Art institute under the auspices of the Albanian National Center of Cinematography (QKK) and with the support of the Ministry of Culture of Albania.

One family drama which recounts with all power how it returned to the drama of a nation, when the event served the Hitler regime for what would become the most tragic humanity campaign: the annihilation of the newborn children’s with disabilities, perceived as ignoble of the Aryan race. The madness of a father who definitely wanted a son potent enough to project the future of his family, urged the madness of a leader like Hitler who later would turn this idea in an obsession, the idea of a superior nation and race. Through this real event emerges the irony of the history itself that events that had changed the course of the fate of millions of people, have started from the crazy and banal idea of an unknown person in an unknown country. This movie brings to the surface the fact that large and shocking events of a nation and not coincidentally sometimes originate from the small passions of ordinary people. Throughout this painful historical irony comes in "child k" through the use of a simple language but that clearly shows the usual life of a German peasant, switched to another dimension that runs simultaneously with the dramatic story of the peasant Richard Kretschkopf.

Fluid film with an excellent rhythm and pace, a naturally flowing narrative that manages to create a connection between each viewer with the story so that he can experience the emotional changes the main character experiences. A highly sophisticated and intelligent presentation of emotional "warmth" that human needs that opposes the "coldness" bureaucratic system. This award goes to:

For its accuracy in depicting the reality and the concerns of the adolescence, for the scenery, narrative style and pace in addition to the multi-Balkan conditions of production, the Balkan Best film award goes to:

Using experimental tools, with a rich expressive style, the author marvelously succeeds to point out all the small things that sometimes we think are not important. Through the life of a loving couple, we are able to see all the detailed touches, emotions, affections, movements that give deeper meaning to their dreams.

Every individual is unique in this world. We are all one unprecedented miracle. Short or tall, weak or strong, beautiful or less beautiful, we came to this world as winners of long and tough race of million of sperms. That is why we should enjoy this beautiful life. This wonderful and optimistic story is transferred to the audience by an excellent author, through an impressive 3D animation.This award goes to:

The author of this documentary film, succeeds in an extraordinary way, through a poetry of picture, to expose one deep and emotional story, without words, in silence, but louder than any scream. The film reflects the greatness of the act of forgiveness, through a character, which besides all of the horrible tortures conducted on him, chooses life and love instead of revenge and hatred. The best documentary goes to:

Brave and creative treatment of themes like racism, xenophobia, aggression, intolerance and prejudice… they look like five fingers of one hand enclosed into a fist which blows a strong hit to the audience and confronts it to the actual problem which disturbs the modern society in the whole world. The individual who is pressed by these circumstances is not in condition to make a rational choice, so its tragic destiny is predicted.

The search for love and employment can be paralyzing, but in the right hands this type of story can be full of kinetic energy that invites the viewer to keep pace with the philosophical development of the protagonist. For its fresh take on the bildungsroman, the award for best editing goes to:

The Best Script Award is given to the film, which brings an important story for our societies preoccupied with material gain and success. This screenplay is elaborate, deep, with a nice balance of character's professional and personal life, building palpable tension in each sector as he shifts to desperation. The Award goes to:

The Best Film Award goes to the film which is not only a well made, stylish and exciting drama, but also a socially engaged portrayal of a corrupt society in which profit is put above human decency. This film is a bitter portrait of corporate corruption, backed by outstanding performances, well-written script and above all important message. The award goes to:

THE MEDICINE SELLER (IL VENDITORE DI MEDICINA)

produced by Amedeo Pagani & directed by Antonio Morabito

Opening speech - TIFF 2014 (12'th edition)

"MAY WE BE AS ORIGINAL, INNOVATIVE, AND CLOSE TO YOU, OUR AUDIENCE, AS POSSIBLE"!!

Javier Angulo, the director of one of the oldest film festivals in the world, the Valladolid Festival, has not only launched a substantial amount of cinematic careers but has masterfully combined fantastic screenwriting with fresh new talents to produce wonderful work. It is only fitting, therefore, that I quote his words below:

“If the nature of great cinematic masterpieces is cyclical, then so it is with film festivals worldwide.”

That is exactly what I would like to do today, to repeat something I’ve written years ago when I returned to work on TIFF, just as I returned to it now following the professional exit of my colleague, Butka, who is lending his talents elsewhere for the time being. And what does all this leave us with? Well, with a lot of time, a lot of change, a lot of years. And yet, one thing will always remain the same and that is this wonderful film festival.

To paraphrase our slogan: think differently, see alike. This makes sense in the context of this festival, as our directions may change, but TIFF does not.

While we can’t keep track of this festival in terms of days, the years since its inception are not yet overwhelming, even as the number of our supporters and friends inflates substantially.

TIFF: In 2003, I witnessed its creation, amid the enthusiasm and love that typically surrounds a birth, even as its longevity was already being questioned.

As all living and breathing entities, TIFF has gradually journeyed towards maturity, with all the highs and lows that that entails, and with a desire to emulate the best, but carrying the weight of its legacy and responsibility.

Although it has been susceptible to all sorts of viruses, metaphorically speaking, TIFF has managed to weaponize its passion for breathing life into those who wish to think differently, but see alike.

It is these very people who, every year, reciprocate this passion by ensuring that TIFF continues the journey it started 12 years ago.

TIFF has a mission and its mission is clear: to fan the inextinguishable flame of our collective creative energies, now and always.

It gives me great pleasure to see that this edition of TIFF has not lost its league of loyal followers that bring such intensity and enthusiasm to our efforts.

The winner of last year’s edition, Simone Salvemini, who also competed in the very first edition of TIFF and is currently in the process of directing his first feature film, is a wonderful example of the impact that a film festival can have in a young artist’s career.

Today, TIFF celebrates its 12th anniversary. It may sound like a long time, but compared to its counterparts, such as the 70-year old Cannes or Venice film festivals, we still have a lot of work to do.

However, it is worth stating that its longevity or its finances should not determine a film festival’s integrity. Even the aforementioned international festivals are not to be exhibited or ranked hierarchically based on their logos.

In its beginnings, TIFF had only a tentative hold on survival, as it attempted to attract a large audience regionally and internationally, a target that has been successfully reached in the past couple of years. This year, TIFF welcomes five thousand four hundred and sixty four candidates from 107 nations. Imagine what this means: that from these 107 places worldwide, amid hundreds of better and better financed offers, they chose our festival as this ultimate destination to receive their cinematic evaluations.

We would only be too glad to offer these candidates larger budgets, to finance and enable their work, not just in the context of this festival but also in that of our wonderful city and the colossal development that it has undergone in the past 2 years.

However, after more than a decade, it is essential that the value of such an international film festival is not measured merely quantitatively or statistically; we must also take pride in the directorial debuts TIFF has helped launch and the affirmation it has received from so many wonderful artists that have seen and continue to see TIFF’s potential as a forum for innovative ideas and experimental cinema.

Today, globalization has unified directors worldwide in the themes they choose to explore through their cinematic efforts, while revolutionizing our modes of artistic expression.

This collision of grand themes within brisk, intelligent cinematic pieces is very well represented this year.

Henceforth, TIFF 2014 is officially upon us! May we be as original, innovative, and close to you, our audience, as possible!!